Sentences with phrase «response to the film as»

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It's the title, too, of a particularly cynical BoJack Horseman episode about mass shootings, in which beleaguered film producers find themselves rolling their eyes while they trot out the phrase, again and again, in response to real events as they try to get back to the «actually pressing business of making sure the movie gets made.»

As an unofficial conclusion, Abernathy McGraw's essay «Life Lessons from Kill Bill» commends readers to five themes of Tarantino's films: the world as a stage, the response to injustice, the importance of family, the limits of revenge, and the cost of redemptioAs an unofficial conclusion, Abernathy McGraw's essay «Life Lessons from Kill Bill» commends readers to five themes of Tarantino's films: the world as a stage, the response to injustice, the importance of family, the limits of revenge, and the cost of redemptioas a stage, the response to injustice, the importance of family, the limits of revenge, and the cost of redemption.

As for the response to the film, Ms. Atwood says, «In Canada they said, «Could it happen here?»

As film fans celebrate 21 October 2015 as the date Marty McFly and Doc Brown visited in Back to the Future II, the prime minister rather clumsily shoehorned in his line... in response to a question about TridenAs film fans celebrate 21 October 2015 as the date Marty McFly and Doc Brown visited in Back to the Future II, the prime minister rather clumsily shoehorned in his line... in response to a question about Tridenas the date Marty McFly and Doc Brown visited in Back to the Future II, the prime minister rather clumsily shoehorned in his line... in response to a question about Trident.

As the film opens, Ron is in the midst of great personal and professional humiliation, having been passed over for a cushy network position in favour of his wife Veronica (a returning and game Christina Applegate); his response is to walk out on her and their seven - year - old son, taking a job as an announcer at Sea World (where he drinks heavily and insults the dolphinsAs the film opens, Ron is in the midst of great personal and professional humiliation, having been passed over for a cushy network position in favour of his wife Veronica (a returning and game Christina Applegate); his response is to walk out on her and their seven - year - old son, taking a job as an announcer at Sea World (where he drinks heavily and insults the dolphinsas an announcer at Sea World (where he drinks heavily and insults the dolphins).

The film is an unambiguous endorsement of violent revolt as the only effective response to such inhuman savagery.

For all the value of his three most recent period pictures, they feel less vital as direct responses to the world around us than as filmed civics lessons, like popcorn Rossellini in his historical films era.

The 71st edition of the Cannes Film Festival began with another Netflix controversy, as the upstart studio pulled its films (including Alfonso Cuarón's Roma and Orson Welles» recently completed final feature, The Other Side of the Wind) from the competition in response to Cannes banning any film that does not get a theatrical release in France.

(But what a BETTER world this would be if we all respected each other's different personal responses to films, as you do.)

The film is at its best when the s — t first hits the fan, as burly, unworldly Donal's surprisingly (though not quite preposterously) nimble responses to a series of not - incredibly bright enforcers leaves each of the attackers humiliated and / or dead.

Greta Gerwig who wrote and directed «Lady Bird,» which won Best Motion Picture - Musical or Comedy, noted that «it's been such an incredible year for women in film both as actors and also writers and directors and producers and people who are really coming to the forefront to tell their stories about the world as they know it from where they are standing, and I think that the response to these projects and the support that these projects have gotten and the way that audiences are going to see them or watching them in their homes, I think all of this just makes it so much easier for the next crop of filmmakers who want to tell stories about women.»

Has your own emotional response to the film shifted as you've revisited it?

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As the film began as a loose collection of scenes, many of which were originally shot for Lynch's website on a low - resolution camera, Lynch committed to making the film on digital cameras and wrote scripts daily in response to what had been filmed the day beforAs the film began as a loose collection of scenes, many of which were originally shot for Lynch's website on a low - resolution camera, Lynch committed to making the film on digital cameras and wrote scripts daily in response to what had been filmed the day beforas a loose collection of scenes, many of which were originally shot for Lynch's website on a low - resolution camera, Lynch committed to making the film on digital cameras and wrote scripts daily in response to what had been filmed the day before.

Surrogate interferences from Love, Time and Death serve simply as Hollywood-esque responses to actual reality, and distract from the possibility of a real story at the heart of the film's intentions.

The political film: Steven Spielberg's «The Post» is the only film made as a direct response to Donald Trump.

The disjunction between the gravity of their plan and the casualness with which they discuss it is bleakly funny at first, but quickly becomes repetitive, and the film as a whole is so predicated on their blasé indifference to life that a corresponding indifference seems the only rational response.

Well, as he confessed to director Jonathan Demme, he not only loved the film but was also stunned by (and even a little envious of) the response it got from the audienc...

Your response to «Blue Night,» a first narrative film from director Fabien Constant («Mademoiselle C»), will very much depend on your response to Sarah Jessica Parker as a performer, for this is very much a vehicle for Parker, and it plays into some of her strengths and many of her weaknesses.

Certainly, his latest film exhibits many of his most characteristic features: an early static shot of a concert audience once again emphasises spectatorship as a primary concern; we meet, as so often, a bourgeois family about to experience severe suffering; Emmanuelle Riva follows Isabelle Huppert, Juliette Binoche and Naomi Watts in giving an extraordinary performance in response to psychological terror; and violence, with its attendant guilt, comes as a shocking intrusion into this world.

The film itself can be viewed as either response to or an example of the impulse to go into the great southern wilderness to capture free - range white people in their natural habitats — more an anthropological exercise than an objective one.

However, just as it's a predictable response that the majority of people who saw Up were viscerally impacted by the first 10 minutes, the reaction to the film as a whole has also become slightly stereotypical, summed up as follows: the so - called «Married Life» montage, in which we watch the lead character, Carl Fredricksen, and his wife, Ellie, as they live their lives over multiple decades, culminating in her death at an old age, is excellent.

His latest, «Happy End» (don't believe that title for a second), feels like a kick in the teeth of the earlier film, as though someone had accused European cinema's high - minded provocateur of going soft and his response has been to reprise the suffering of «Amour» but cancel the warmth completely.

When the Oscars changed their Best Picture lineup from five to ten in 2009 it was in response to a backlash that the Academy wasn't recognizing populist films (even very well reviewed ones like 2008's The Dark Knight) in the same way as more «traditional» Oscar fare.

Although Black Star is not intended as a direct response to the current social climates in the UK and US, Clark says that a number of the films in the programme speak directly to what's happening today: «John Singleton's seminal Boyz n the Hood is a prime example: it's impossible to watch the film and not see very clear connections to contemporary issues of police brutality and gentrification.

A defiantly Jewish bit of mishegoss that was conceived as a U.S. / Israeli co-production, the film is a wry, self - defeating response to the anti-Semitic tradition of stories about conniving «Court Jews» who talk their way into becoming one of the king's most trusted advisors.

Amid a scattered range of responses, one film seemed to emerge as a consensus pick: writer - director Sean Durkin's «Martha Marcy May Marlene,» a solemn - sounding drama starring Elizabeth Olsen (younger sister of Those Twins) as a damaged young woman rebuilding her life after fleeing a religious cult.

Regardless of the critical response to this film, we can be sure that it'll be shown as a demonstration film in TV shops for years to come.

As has become my general response to these films: why bring him up at all then?

It isn't big or fancy, but rather the sweetest, most heartfelt moment in any Pixar film to date, with a reaction shot that will elicit the exact same response from the audience as it does from the character on screen.

Later in the film, Bobby leans over a walkway at dusk and lights a cigarette; suddenly all of the exterior lights of the motel flicker to life in response, as if he were a wizard casting a spell on a place that no one would associate with magic.

As Luciano Tovoli once said in his response to a question regarding his own supervision of the Blu - ray transfer of Dario Argento's 1977 Eurohorror classic Suspiria, the physicality of celluloid image should be contrasted with the mathematical image offered by the digital.6 Experimenta, with its assiduous persuasion for the original formats of films in most cases7 in a country that severely lacks an experimental film culture and a consciousness regarding the latter, set the physical, tactile presence of films and filmmakers as its focal poinAs Luciano Tovoli once said in his response to a question regarding his own supervision of the Blu - ray transfer of Dario Argento's 1977 Eurohorror classic Suspiria, the physicality of celluloid image should be contrasted with the mathematical image offered by the digital.6 Experimenta, with its assiduous persuasion for the original formats of films in most cases7 in a country that severely lacks an experimental film culture and a consciousness regarding the latter, set the physical, tactile presence of films and filmmakers as its focal poinas its focal point.

They're dynamic organisms, built to provoke emotional responses, and as long as our inner landscapes can change, a film will change with us.

As yesterday's news set in that The Shape in the original Halloween, Nick Castle will resume the iconic role of Michael Myers again in the new Halloween movie, executive produced by John Carpenter and arriving in theaters in 2018, many fans questioned if the 70 - year - old Castle would need a walker for the film, to which a humorous response was posted by Castle's friend and associate Sean Clark (Horror's Hallowed Grounds, Convention All Stars).

Here's his response to a question about making sure the film still feels like his, even with the Marvel machine behind it: «I think that's a great creative challenge to me — to make this movie as personal as possible.

After a screening of the film — originally titled «Eaters of the Dead» — earned a tepid response from the execs at Disney, Michael Crichton was brought on as the chief creative voice to help right the ship.

As was the case with Philip Seymour Hoffman three years ago, Sean Penn should triumph despite the tepid HFPA response to his film, while I fully expect them to confirm Anne Hathaway's rapidly - building (and to me mystifying) Oscar - frontrunner status.

The night — usually one reserved for more carefree partying — served as Hollywood's fullest response yet to the sexual harassment scandals that have roiled the film industry and laid bare its gender inequalities.

She recently attended Sundance Institute's two - day intensive as part of the FilmTwo Initiative, which provides support to a diverse group of independent filmmakers in response to the specific challenges they face in developing and completing their second feature film.

The danger with that in this instance, though, is that I suspect Fulci welcomes such a response — adding, as it does, to his own feelings about the topic of film as expressed by his contributions to the medium.

Manohla Dargis, The New York Times: To say that Charlie Kaufman «Äôs «ÄúSynecdoche, New York «Äù is one of the best films of the year or even one closest to my heart is such a pathetic response to its soaring ambition that I might as well pack it in right now... Despite its slippery way with time and space and narrative and Mr. Kaufman «Äôs controlled grasp of the medium, «ÄúSynecdoche, New York «Äù is as much a cry from the heart as it is an assertion of creative consciousnesTo say that Charlie Kaufman «Äôs «ÄúSynecdoche, New York «Äù is one of the best films of the year or even one closest to my heart is such a pathetic response to its soaring ambition that I might as well pack it in right now... Despite its slippery way with time and space and narrative and Mr. Kaufman «Äôs controlled grasp of the medium, «ÄúSynecdoche, New York «Äù is as much a cry from the heart as it is an assertion of creative consciousnesto my heart is such a pathetic response to its soaring ambition that I might as well pack it in right now... Despite its slippery way with time and space and narrative and Mr. Kaufman «Äôs controlled grasp of the medium, «ÄúSynecdoche, New York «Äù is as much a cry from the heart as it is an assertion of creative consciousnesto its soaring ambition that I might as well pack it in right now... Despite its slippery way with time and space and narrative and Mr. Kaufman «Äôs controlled grasp of the medium, «ÄúSynecdoche, New York «Äù is as much a cry from the heart as it is an assertion of creative consciousness.

It's the one Sofia Coppola film that I'm not quite sure of the general response to but I feel is one of her strongest as it breaks her out of her mold in a weird way.

Played by Lewis Tan (Iron Fist, Into the Badlands), he receives his own fleeting action sequence as he takes on two DMC guards — presumably the film's answer to the Mutant Response Division from the comics — using twin blades.

Stevens relates his initial enthusiastic response to the script, as well as his favored description of the film as being like «Captain America gone very, very wrong.»

And then you have Ava, whose response to Caleb's interrogations aren't always as expected — so the film concerns the fluctuating power relationship between these three characters.

In response to complaints that Lee's unjustly excoriated 2003 effort was too talky and slow, Leterrier swings the pendulum to the opposite side of the spectrum, delivering a slam - bang spectacle so lacking in weight that, until the impressive finale, the film seems downright terrified of character and relationship development, as if too much conversation or — gasp!

There's a lot riding on this film as expectations come high due to the tepid response from Man of Steel and Batman v Superman.

My response to the previous two films could be glibly summarized as an awed distance, but in this chapter, the story of the prequels is finally involving on its own merit.

Is «Three Billboards» a response to critics who have commented on the violence in your films, or who have dismissed them as entertaining fluff?

The film didn't garner as much of a response at TIFF as some were expecting, and since it's not necessarily a commercial draw, it will need a groundswell of critics support in order to become a major contender in the awards season.